New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1887-04-05
The DRAMA.
WILSON BARRETT AS HAMLET.


Tho TO entrance Of Mr.wlson Barrett and Miss Mary
Tastlako was made last night ut the Star Theatre In
1IIamet" and great concourse OF eagerly Interested
spectators thor performance with apparently
thoughtful attention. certainly with sympathetic good
WILL at several points with cordial applause and
altogether, with mental prott-thOugR not Win uh-
qualified approval.
MIR Barrett appeared IA "Hamlet"; Miss Eastlake
as "Opheia" These embodments have been for q
long while before the country, bud they were now
presented In this capital for the first time. MI
Barrctts Views and theories about "Hamlet' also
have been disclosed in print, and have been some
what sedulously urged upon public attention. They
are found in the newspapers ard printed in tho
play bills, as we'll as enforced from the stage. The
version OF "Hanlet' In which Dir. Barrett acts IL
formally announced as "ncw version" III all
feasible WAYS tbs Old subject Is offered for discussion
from fresh point OF view The display OF 1t last
night such compel serious thought and this
upon line OF comment calculated - enibarrass Kind
ness and exhaust patience
The critical thinker upon art should always,
possible. work in harmony with the artist. Each Is
DESTROYS Of the same result-the advancement OF the
human mind through tho ministration OF beauty, an
advancement out of which necessarily flows improved
civilization and augmented happiness for the human
race tho mind of tho critical thinker, accordingly,
twofold question always arises, In presence Of each
fresh effort that Is made by the artist There Is the
personal question, and there Is the question OF Sig
nncancc for Others when an actor presents for the
first time his ideal Of Hamlet" observer studous
OF its worth naturally led TO inquire what this per-
Torrance indicates, denotemen OF the actor, and
Of what value and importance it Is to the world The
latter point, manifcstly, Is the more serious and
essential OF the twO-seeng that abstract ability In
an actor signifies little nothing, save in so far as
1t becomes the vehicle of mental moral and spiritual
message, refreshing to common humanity and
neediul for tho good Of other minds.
THE ACTORS TRAITS AND LIMITATIONS.
Mr.. Barrett's "IIamlet," like his "Ciaudian," con-
tans the personal denotcment Of q simple, kindly,
imrul>ive gentleman and OF strong sensible. pct-
uresque experienced actor but also 1t indicates,
even clearly than its predecessor did, that this
artist deficient in farreaching perception of the
influence Of "supernatural forces and In the intimate
and profound knowledge Of the consequences OF In
cessant and irrcmedable msery-the pathetic side Of
life. gentle person and a good actor-but not the
man for "Hametl 60 little indeed, can with justice
be said in favor Of his performance that the discus
sion of it Is both difficult and painful Respectable
approximations of Hamlet" not uncommon, and
need that the existing supply of mediocrity
In this character should be augmented. The present
age has produced two actors who givo essentially
great embodlnents Of "Iiamet." These actors arc
Edwin Booth and Horny Irving All other players
OF the part not only come after these but follow a
long way behind them. Various miscellaneous actors
OF Hamlet" to be sure, acqut themselves ably and
well OF their professional task, and no doubt many
others might be- found, TO the part as yet. who
would act 1t in crcditablo manner. 1t Is labor
thrown away. The actor who nowadays assumes to
play Hamlet" Is naturally and rightly expected 10
cvnce hot only technical capacity for the part but
q fitness for 1t that is extraordinary He must show
himself to bc possessed In degree altogether unusual
Of that peculiar personal and spiritual distinction
that majesty of intellect. that dolicate exquisite
OF tcmpcrament,always to DO folt but perhaps
mover TO be defncd-which IL absolutely and impera-
lively essential to its adequto embodiment This
qualification does not appear and Is not suggested In
MIR. Barrotts performance
Mr. Barrett is rapid and vehement in the soo
quies, conventional In the ghost scenes, and ut no
point in the delivery of the text aside from those
passages which tnged with scomful bitterness.
or imprisoned with hlial affection, does ho appear
to speak from tho inward impulses Of man who
has become absorbed in a character. He IL assisted
by an able and we'll disciplined theatrical company
from which, however,. the withdrawal OF Mr.. George
Barrett was fet last night, with regret Miss Mary
Eastlakos embodiment OF Opheia Is good compan
ion piece TO Mr. Banett's Hamlet, and it bears
marks OF his artistic influence. certain exquisite
spirituality Of loneliness goes with tho ideal Of
Ophea Her character Ia deficient Of strength, color
and all manner OF qualities that are positive but
he ia infinitely sweet In her affectionato dooility.
Everyone thinks OF her purely beautiful. and this
impression Is not lesscncd from the that she
is utterly INADEQUATE to understand respond to
tho man whom IN her narrow way, sho loves, and
who certainly has loved her TO alteration Miss
Eastake presents robust Ophelia; human rather
than spiritual, and In tho mad her acting 10